La Villa | La Rubia

La Villa

Participating at Untitled Art Fair in Miami, is our first important step to keep growing. We want to reach a larger audience with wildpalms, talking to curators, museums directors and putting some works in collections – private and institutional. Our proposal is new for a fair format. We are going to show La Villa. A 19th century house in la Condesa in Mexico City, owned by Alejandro Almanza Pereda, an artist who shares this house with three other highly talented artists, Anibal Catalan, José Luis Cortés-Santander and José Eguezabal to live and work there, independently, but next to each other.

La Villa is filled with creativity, at the same time it is a place where boundaries have been blended – it is a place where these artists live, work, exhibit and have concerts with their artist band, la rubia te besa – a product of La Villa. And give input to the city. An exhibition at La Villa during the MACO, is an unique experience.

La Rubia Te Besa

La rubia te besa is an electro drama band. Jose Elguezabal, Pepe and Alejandro Almanza are the founding members. Trade marking pink lights and blonde wigs, a clear reference to the hairstyle of the Glam music, and the common practice of hair bleaching in Latin America associated with higher esteem.

Elguezabal, being the member with fundamental musical education, is the composer of la rubia. He uses the keyboards to produce a great number of references within classical music and contemporary composers. Electro drama, as a genre, describes social situations related to daily life, such as love and dis-love. In the 80’s, it reached high popularity while composing pop music whith lyrics describing, dialogical, a couple heading to a crisis. La rubia revitalizes the idea of the drama as a popular element in the Latin American daily life, nonetheless, instead of recreating it as an isolated genre, by the conscious use of musical elements of high art, such harmony theory, la rubia extended the drama to the history of music and aesthetically theory.One element to support la rubia’s undermining critic of the cultural products of high art is the us of lyrics, based on the references to french poetry of the 19th century, as well as literature and movies.